How to Set Your Guitar's Intonation

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Sometimes your guitar will be out of tune even after you tune it, which means your intonation is out. You can tell when your intonation is out if an open string harmonic at the 12th fret (lightly touch string at the 12th fret and pluck it) and the fretted note one octave higher (hold the string down at the 12th fret and pluck it) are not the same. Guitar intonation tuning is making the notes of each fret of a string equal to the chromatic reference pitches, or the natural musical scale temperaments by adjusting string lengths at the saddles. The chromatic musical scale and natural musical scale are similar, so tuning the natural musical scale of the brass instruments is preferred. This makes the twelfth fret note of a string theoretically be about one octave higher than its corresponding open string note pitch, and the seventh fret note octave pitch similar as the corresponding seventh fret harmonic pitch.

Read through the Tips and Warnings at the bottom of this page. There are several facts that you need to know before you perform this process.

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Tune your instrument to the tuning you're planning to play in. Tune all of the strings directly to the tuner. No 5th fret or harmonic tuning here.[1]

For electric or acoustic-electric instruments: Use a programmable electric tuner with stroboscope display that you can plug directly into. A mechanical stroboscope can be the most accurate display in 2010. Use the chromatic equation below to get the pitch frequencies fn for this programmable tuner.

For acoustic instruments: Use an extremely quiet (and dead) room with a mic tuner. Remember, set up your instrument for the tuning you're going to use. If your band plays in drop D, Ab standard, G modal, or any other tuning you should tune your instrument to the tuning you are going to use. Standard E drop to D is better than standard tuning because of lower string tensions.

Bassists: Throughout this process you should be using a pick, even if you do not normally play with one. The way we pluck the string with our fingers works very well when we're playing, but it just is not accurate (or consistent) enough for this process.

For all instruments: Tune the entire instrument several times. As the tension on each string changes it may alter the way your neck is sitting and may detune your other strings. Stick with this step until every string is open tuned as close as possible to perfect. When you're tuned, move on to the next step.

Adjust your action. If you have any desire to raise or lower your string action (the distance between your strings and the fretboard) you should do it now. This means if the string is buzzing raise it so that it does not! When the string is vibrating or buzzing on the next higher pitch fret, the note pitch can quickly and temporarily switch making intonation tuning very difficult. The two pitches may briefly and temporarily blend making sometimes the note pitch a little sharp. The buzzing sometimes produce some harmonic pitches that can reduce the purity of the pitches of the higher pitch frets; the tenth fret note pitches can sound a little higher. The smaller the magnitude and duration of the buzzing on adjacent frets the smaller the offsets d has to be. If you alter your action after you complete the intonation setting process, you may undo all of the work you are about to do. If you do alter your action on any string, repeat step 2.

The better quality guitars can have their strings closer to the frets with less buzzing. The closer the string(s) to the frets, the less the string stretching and tension increase when pressed, the smaller the offsets d have to be, the significantly (exponentially) better the intonation tuning due to less string stretching, but string buzzing may perhaps sometimes reduce intonation tuning.

Place the strings as close as possible to the frets; if some buzzing on next higher fret can be heard increase the distance slightly. There may be some string buzzing permitted at frets higher than twelfth fret. The more expensive guitars can have their strings closer to the fretboard and so have better intonation tuning. The intonation tuning error due to string stretching is (T2+(T (2 yi/s))2)1/2-T, where T is the open string tension of the ith string, and yi is the distance between the side of the ith string and the twelfth fret peak. From these equations can tell that intonation tuning improves as string tension T reduces and distance yi between string and twelfth fret reduces with offsets d minimized.

Need to keep yi small as possible for first string to achieve intonation tuning. If the distances yi between strings and frets are too large, intonation tuning will be impossible.

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Figure out how far off you are. Fret the string at the 12h fret and pick it. The pick should be moderate, not too hard, not too soft. When fretting, pay special attention to fret only as hard as is necessary to prevent the string from buzzing.[2]

Even with a standard un-scalloped fretboard it is possible (especially on guitar) to bend the string sharp several cents by fretting too hard. In normal playing it isn't generally an issue, but for this process you need maximum accuracy. When you play that string at the 12th fret, observe your tuner. If you are sharp (too high) or flat (too low) your intonations are off and an adjustment will need to be made.

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Fix it. Adjust the saddles. Depending on the type of saddles you have determines if you turn the adjustment screws for the each saddle clockwise or counterclockwise.[3]

If the note on the 12th fret is sharp, that would mean that the saddle for that string needs to be moved back away from the headstock.

If the note on the 12th fret is flat, that would mean that the saddle for that string needs to be moved forward toward the headstock.

Compare the twelfth fret note to the corresponding twelfth fret harmonic pitch with electronic tuner for meter. This is decent intonation tuning for notes between nut and twelfth fret range.

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Check it. After you make a saddle adjustment, you will need to repeat step 2. Make sure the entire instrument is still perfectly in tune.[4]

Once you have completed step 2 again, re-fret the 12th fret on the string you just made the adjustment on and check it on the tuner. You should see that it is not in the same place anymore. If the 12th fret note isn't perfectly in tune while the open note is perfectly in tune, you need to repeat step 4 until it is.

Tune the open string note and check the fifth fret note with a mechanical pitch pipe. If the fifth fret note is still a little sharp (high), move the bridge (bridge saddle) back a third of a millimeter. Play some songs on one string and adjust the string length at the bridge accordingly if the intonation does not work well. If it is perfect you are done with that string.

Tune the first fret notes by adjusting string tensions; and compare the second to twelfth fret notes of a string with the chromatic electronic tuner pitches. Compare notes of a string with an organ/chromatic pitch pipe link below, and if most of the higher pitches are too high relative to pitch pipe pitches and first fret note, lengthen string by about 0.2 millimetre at bridge, or if too flat (low) move bridge forward (toward fretboard).

Repeat this until the notes from nut to twelfth fret of a string closely matches the references pitches. Better intonation tuning of a string occurs when the twelfth fret, sixteenth, and nineteenth fret notes pitches equal their corresponding harmonic pitches.

Enjoy. Once you have the instrument completely set up, play a nice fat major barre chord. Listen to all of those overtones you've been missing! Now, kick on your distortion and notice how your guitar is suddenly 300 times more powerful.

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Community Q&A

What can I do if my 12th fret note is still sharp when the saddle has been moved back (away from the fret board) as far as possible?

Community Answer

Take the saddle off. Remove the spring. Put the saddle back in the bridge without the spring. This should give you a bit more room to bring the saddle back and make the string less sharp. If you need more room, take the saddle out again and grind the back side of the saddle, making the saddle shorter. Leave enough threads in the saddle for the screw.

Why are strings offset at the bridge? Wouldn't this mean that the 12th fret is NOT the middle of every string?

Community Answer

Heavier gauge strings need to be slightly longer to match the intonation of the lighter gauge plain steel strings. The lower tension and larger mass of the wound strings travel slightly more when fretted. This is why acoustic guitars are offset at the bridge like this.

The strings are hitting the frets. The truss rod might need to be adjusted, or the bridge raised, or the nut may have been cut poorly. Start with the truss rod and then raise the strings at the bridge if you can.

What should I do if the open string and 12th fret note are in perfect tune, but the 1st, 2nd, 3rd, and 4th frets are slightly sharp (decreasingly so)?

Community Answer

The string height at the nut is probably too high, and needs to be lowered by deepening the groove in the nut. If too high, you will be forced to bend the string to reach the lower frets. The more the string is bent to reach the fret, the shorter the string length, and the more sharp it will be.

This could mean that you have old strings, bad frets, or a truss rod that needs adjustment. If it's an electric, sometimes you may need to flip the saddle on a tune-o-matic style bridge to give you more room for adjustment.

Tips

The force which you use to push down the string on the 12th fret can change the pitch, so make sure to play the note as you normally would. Press string directly behind fret with just enough pressure without bending string between frets.

Check the note pitch stability with a meter tuner; and if the meter needle dips (left to right) more than once; the note pitch stability is poor and you will have too find a way to fix it. Bring the strings as close as possible to the fret board at bridge and slowly at the nut. The strings must not buzz or vibrate at the fifth fret on the next higher fret. Some string buzzing may be allowed at frets higher than the twelfth fret. Use a high quality chromatic electronic tuner. Tune the open string note and first fret note by adjusting string tension. Check or compare the notes from the third fret to the nineteenth fret notes of a string with the tuner reference pitches. If these notes are a little sharp relative to the open string and first fret notes, lengthen (by about 0.5 millimetre) the string at the bridge. If these higher pitch frets are a little flat shorten the string length instead. Repeat this last step until most of the fret note pitches equal the tuner's reference pitches. Fine tune (string length) by ear by playing some tunes and voice as lead. Repeat this for the other strings. Guitar intonation cannot adapt to changes in pitches as easily as the human voice; this may the closest one can get to intonation tuning. The voice must lead chromatically the guitar; singer must not follow guitar pitches. You need to learn how the sing and play guitar at the same time. This makes tuning chords easier and to lead the band. At least learn to sing in the mind with guitar playing to test the chord tunings. This does not work well either; use your ear and songs as references pitches.

Stretch your strings before you begin to tune to tighten windings at tuning machine gears, if you don't the string will fall flat on its own. Pull string hard as you can without breaking it, repeat until the open string pitch no longer declines.

The equation for the pitches of the chromatic musical scale is: fn=ofo 2(n/12), where variable o is the octave numbers as multiples of two: 1/4, 1/2, 1, 2, 4. Variable fo=440.00 hertz is the reference pitch for A440 note, and n is the note number integers 0 through 11. Using the above numbers, the distance between the nut edge and first fret centre is s÷17.81715392 m./m. String instrument intonation tuning lemma: if the fret spacing on the fretboard are chromatic, string thickness is minimum, distance between strings and fretboard frets are minimum, the compensation offsets d are minimum and the note pitch stability is nearly ideal, then and only then the intonation tuning of thin string is more accurate. Use the standard pitch names for voice for checking intonation tuning of string by ear. Pitch names for fourth string: Do=D, Re=E, Mi=F#, Fa=G, So=A, La=B, Si=C#, Do=D. See organ link below to hear and memorize pitches.

This process should be performed with new or nearly new strings. The more you beat on your strings the less consistently they will vibrate. This is not a major factor when you are putting your sound into the world at amplifier volumes, but the accuracy of this process decreases the older your strings are. Strings may suffer from metal fatigue, which may reduce intonation tuning at the strong sections of the string; change to new strings often.

Before tuning can be done, the guitar must stay in tune after playing a few chords. Check open string tuning with an electronic tuner after playing two to four chords. If the open string tuning changes by a cent and this is possible, the tuning stability is not enough. The problem may be the tremolo; the tremolo may be pivoting on a single imaginary line. The bridge area on acoustic guitar may be warped and weakened. Put the string through the opening at the tuning gear(s) only once to produce a snug rest and stable fit by avoiding second loop of string, then bend the string over 90 degrees where it leaves the opening in the same direction as the string end to reduce string slip. This will help the open string tuning stay in tune longer. Wind the strings neatly into a helical coil shape at the tuning gears for easier tuning. Make the top of this coil push against the string part that goes through the peg (gear rod) opening to reduce string slip. A low cost guitar like an Aspen electric guitar can detune within 15 seconds of playing and is useless for playing; time for a better quality guitar over $800 with thinner strings, with high quality machines heads (tuning gears), with no tremolo; try top popular brands.

Another way of tuning intonation to the natural musical scale is to use the seventh fret, ninth fret and twelfth fret harmonic pitches if the fret spacing on the fretboard is accurately chromatic. For each string mainly tune the seventh fret note to its corresponding seventh fret harmonic pitch note by adjusting the string length at the bridge. Also tune the twelfth fret note to its corresponding twelfth fret harmonic pitch note for each string by adjusting the string length at the bridge. The nineteenth fret harmonic pitch is the same as the seventh fret harmonic pitch. Make the nineteenth fret note the same as the nineteenth fret harmonic pitch by adjusting string length at the bridge to improve tuning to the natural musical scale and the chromatic musical scale. The intonation is decent when the seventh, and nineteenth fret notes closely equals their corresponding harmonic pitches. Need to do some fine tuning by using tunes as reference pitches on one or two strings; the string length may have to be shortened back a little in this step. Finally, tune by ear and playing which is precise, test the intonation by playing and strumming some songs like "My Little Baby", "Darling Dear", "Ill Be There", and "Petals" (J5) with drop to D tuning and alone using only one string or chords that are far apart on fretboard, next pay a song using only two adjacent strings, and then check the string tuning with a chromatic electronic tuner. Next fine tune the open string tensions using harmonics tuning. This seems best tuning. Can then closely play some classical music of brass and violin instruments with guitar. Brass instruments like trumpets and horns use the natural harmonics of the natural musical scale, and if you like to compose music with brass instruments, this may be the best intonation tuning. The thinnest solid strings have the smallest compensations d and so have the best intonation tuning to both the natural and chromatic musical scales. Natural musical scale: A=fo, A#=fo25/24, B=fo 9/8, C=fo 6/5, C#=fo 5/4, D=fo 4/3, D#=fo 45/32, E=fo 3/2, F=fo 25/16, F#=fo 5/3, G=fo 9/6, G#=fo 15/8. Best for classical music using brass instruments; try "Thunder birds Sun Probe" by Barry Gray.

The string lengths may be increased by at least -0.5 for first (E) string to possibly 4 millimetres=d from double the distance between nut edge and twelfth fret centre (scale length equals 0.65 metre=s) to compensate for string stretching after above step. The total string length is the scale length plus compensation d per string. Try d=0.0001 to 0.0025, 0.0001 to 0.0025, 0.0005 to 0.004, 0.0005 to 0.003, 0.0005 to 0.0035, and 0.0006 to 0.004 meter (0.0 to 0.0 ft) approximately for s=0.65 meter (2.1 ft) and Kratt C to C pitch pipe for closer tuning from nut to sixth fret range. The Kratt chromatic C to C pipe set produced the smallest offsets d, may be one of the best for tuning; its pitch accuracy and purer tones makes intonation tuning more accurate and easier; no low cost tuners have come close to its chromatic accuracy and pitch purity. If compensation offsets d are more than 8 millimetres, the nut may be crushed or dislocated, time for a new, harder and better quality nut. Spanish guitar with nylon strings requires less compensation than above; this shows that the quality and precision of the fretboard fret spacing, the type of string, nut location affects amount of compensations d and so has better intonation tuning. The twelfth fret note is more affected by changes in string length than the third fret note, and so the smaller the compensation at the bridge the better tuning. This compensation at the bridge depends on the thickness of the string, the material(s) of the string or type of guitar, fret spacing of the guitar brand and should be minimized. For example a Spanish guitar could be tuned this way while still having good major bar chord tuning. When the compensation offsets are similar for each string, the major bar chords sound more in tune. First the strings must be brought close as possible to the frets at the bridge and nut to minimize string stretching, but without permitting the string to vibrate or buzz against the next fret. Second, the note pitch or frequency stability of the guitar must be adequate or high; mainly achieved by a strong and stable bridge and string suspension design. Best intonation tuning: tune the twelfth fret note pitch to its corresponding twelfth fret harmonic pitch by ear, next then tune the seventh fret note to the seventh fret harmonic pitch of a string, sixteenth fret note to sixteenth fret harmonic pitch and then tune the nineteenth fret note closer to its corresponding nineteenth fret harmonic pitch. Next tune the sixteenth and nineteenth fret notes closer to their corresponding harmonic pitches. This is relative to nut edge. You can use the electronic tuner for this since the reference pitches are the harmonic pitches in this case. Fine tune using your voice as a chromatic pitch pipe; play a few tunes and if the faster pitches on a string are a little too sharp, lengthen string length slightly at bridge. Sing the melody while playing the accompaniment notes to check tuning. This requires some precision adjustments so practice playing on one string and tuning at the same time. The intonation is somewhat close to being in tune when the twelfth note is a little sharper relative to the corresponding twelfth fret harmonic pitch, sixteenth fret note is a little sharper relative to its corresponding sixteenth fret harmonic pitch and nineteenth fret note is a little sharp relative to its corresponding nineteenth fret harmonic pitch with each string. This version may work a little better when compensation distance at bridge is too large, so there may be no one ideal intonation tuning method. A fret peak could be flattened. The intonation tuning can be when the pitches of the first fret to seventh fret notes are in tune to a chromatic electronic tuner reference pitches. To do this for one string, tune the first fret note by adjusting the string tension with the machine gear, then use the electronic pitch pipe and then chromatic tuner meter to check the note pitches from the first fret to the seventh fret of this string; if you find the fourth to sixth fret notes too sharp, move the bridge piece or saddle back (away from fretboard) about a 1/2 millimetre, and repeat these steps if needed for this string; then the same for the other strings. To avoid over compensation or bridge too far moved back, can make the twelfth and nineteenth fret notes of each string a little sharp since it is not used often. A Peterson chromatic electronic tuner with an accuracy of 0.01 cent may perhaps be a decent guitar tuner. In last step, tune all the A notes and octaves of A using the A440 tuning fork that are between the nut and fifth fret by adjusting the string tensions. Then using these strings tune the fifth open string D note and second open string B note by adjusting string tensions and by ear. From open string pitch to twelfth fret note is u=1200 cents=(12 semitones)(100 cents/semitone), and when the twelfth fret note is pressed the pitch changes by c=4 cents; then best compensation is d=(c/u)s=2.2 millimetres or slightly less for fourth string; this is closer. Total string length is s+d, and the smaller the d, the better the intonation tuning. Variable s is scale length which is the distance between nut edge and twelfth fret centre multiplied by 2. Then to tune the string tensions do not use an electronic tuner; practice string tension tuning by ear. This may be best. If this does not work try better inter strings open string tuning within the six fret range that you are using above. If this does not work, the string tension tuning may be off that was tuned with a low electronic tuner with reference pitches off also.

Many things can contribute to bad intonation such as a high action and/or worn frets, incorrect filing of fret too flat, incorrect chromatic fret locations. Even if the fret has worn flatter and edge has moved off by 0.1 millimetre due to wear or incorrect filing can detune fret. The other frets will be similar and this will make intonation tuning impossible. Press string on frets and check with a magnifying lens; string should be on peak (centre) of fret. You will need a fret file to round off the peaks of the frets, and if you cannot do this you will have to buy a new and better quality guitar. The ratio of the distances of two consecutive frets (adjacent fret spacing) is 21/12=1.059463094 metre/metre and some manufacturers possibly use a slightly different number for compensation.

The brand/gauge/tension/mass of materials/string thickness/fretboard quality for tuning matters! This process is not a one-time thing. It is largely dependent on the brand of your strings, the particular product line of strings from that manufacturer, the gauge of the strings, the tension of the strings, wound to core size and (most importantly) the tuning you put the strings in. So, pick your strings out first and set up your guitar or bass to a specific tuning. If you switch brands, tunings, gauges, etc. check your intonations! You might have to tweak a few (possibly all) of your strings. Try using medium gauge (0.0013, 0.017, 0.026, 0.036, 0.046, 0.056 inch) pure nickel with round core hand-wound strings; nickel is more elastic than steel and has better intonation tuning especially for third and fourth strings. Try Ernie Ball Super Slinky strings with thinner third string for superior third string intonation. Nylon (nylon fibres) string has a high elasticity to mass ratio, less stiffness, more uniform stiffness and so has the best intonation of the four materials; always use super light gauge nylon strings for Spanish guitar and short scale bass guitar. Replace the third string thick nylon string with a thinner second nylon string gauge. Strings with a lighter wound require less tension and so have better intonation tuning; the thinner the string and the greater the string tension, the better the intonation tuning. Fret tuning may be different for each brand of guitar; try using the brands and models the famous artist were using. The fretboard and guitar quality does make a significant difference for intonation tuning; use the brands and models the famous artists were using; spend at least about $500 for simple designs or $900 or more for complex designs in 2010 for better fretboard action. You will have to play about six difference tunes to test that $1000 new model guitar in the store before buying it just to be sure you can reach those notes.

Make the length of the first string equal to the scale length s at the bridge. The scale length s is the distance between the nut edge and the twelfth fret centre (peak) multiplied by two. Tune the second fret note by adjusting the string tension at tuning gear and using the high quality electronic chromatic tuner as the reference pitch. Check the fifth, seventh, nine fret, twelfth, fourteenth and sixteenth note pitches to the reference pitches of the electronic tuner. The higher pitches will be a little sharp (high) by 1 to 2 cents than tuner's pitches and the second fret note pitch. If so increase the string length at the bridge. Repeat these steps until these fret notes equal to tuner's pitches. The twelfth fret note will now be a little flat relative to its corresponding twelfth fret harmonic pitch so that the ninth fret note will not be a little sharp. Repeat steps for the other five strings. The higher pitches of string are sensitive to open string pitch; so you are better of tuning the twelfth fret note pitch to its corresponding twelfth fret harmonic pitch. The seventh fret harmonic pitch and open string pitch closely matches the chromatic musical scale pitches, and the nineteenth fret harmonic pitch is the same as the seventh fret harmonic pitch, then when the seventh and twelfth fret note pitches are a little (1 to 1.5 cents) sharp relative to their corresponding harmonic pitches of a string, the intonation tuning of a string is close. Acoustic guitar tuning upgrade: intonation tuning of a single string is close when the twelve fret and nineteenth fret notes pitches are close to their corresponding harmonic pitches; see demonstration video Ill-Be-There.wmv below. Next fine tune the length of the string by ear and songs by adjusting string length at the bridge accordingly. Use a chromatic electronic tuner to tune the open string tensions and then use harmonics tuning for fine tuning the string tensions.

If you try all of the steps above and follow all of the tips and still have bad intonation, then you probably will have to change the string itself. But only do this if you are absolutely sure, as it is a risk. If you change the string and you still have bad intonation, then you have wasted a string.

If the guitar has a floating bridge (held only in place be string forces) it may have been moved; it will have to be relocated to the correct position. First relocate the bridge saddles so that these are from nut edge are twice the distance (scale length) between the nut edge and twelfth fret centre; bridge edges are at the scale length from nut edge. Double the distance between nut edge and twelfth fret centre (peak) is the scale length. Measure the distance between the nut edge and twelfth fret centre using a sewing tape measure or metal tape measure; mark the location on the metre tape with a pencil line, and use this to relocate bridges relative to twelfth fret centre. Place starting edge over twelfth fret centre and see if bridge edge is at this mark on measuring tape; and if not relocate bridge by adjusting screw if screw is present. Check with a magnifying glass; this is critical. Then make the string about 0.2 to 0.5 millimetre shorter at bridge, because the distance between nut to first fret may not match exactly the scale length s as with the Aspen guitar. Tune the A notes and octaves of A of fifth, sixth and first strings using the A440 tuning fork that are between the nut and fifth fret by adjusting the string tensions. The fret spacing on the fretboard seems to be chromatic so this step is for initial intonation tuning when there is a floating bridge. Fine tune the open D (fourth string) string by tuning the harmonic pitch over the fifth fret of fourth string to the D note of the fifth fret on fifth string, and not with a commercial electronic tuner. At this point tuning is good for notes from nut to fifth fret. Make the string length a little shorter (about 1 millimetre) than scale length s to start with, because the distance between the nut edge and first fret centre may be off relative to the scale length s. After this, tune the second fret note by adjusting the string tension using a Kratt C to C pitch pipe for reference pitches and electronic tuner meter to bring string note to pitch pipe pitch. Compare the fifth, seventh and ninth fret notes of this string to the corresponding pitch pipe pitches by ear. If these three pitches of this string are a little flat (low) relative to corresponding pitch pipe pitches and this second fret note, shorten the string by about 0.2 millimetre at the bridge. If the seventh fret note is a little sharp, lengthen the string instead. Retune the second fret note pitch by adjusting string tension and repeat this step section if needed. Gently press on the first fret and compare the thirteenth fret note to its corresponding thirteenth fret harmonic pitch and if the thirteenth fret note is a little flat make the string shorter at the bridge; string stretching and large change in pitch due to stretching starts at the first fret. The twelfth fret note pitch will be a little sharp relative to its corresponding twelfth fret harmonic pitch; this seems best; try playing "I'll Find A Way", "The Love You Save" (J5), "Dreamgirls' Perfect World" (Dreamgirls soundtrack 20, Rainbow Records) melodies on the fourth string from nut to tenth fret. Fine tune if needed by adjusting string length at bridge with song pitches as reference pitches. After open string tuning (adjusting string tensions), check the seventh fret note pitches with a pitch pipe by ear; most of them should be sharp at this stage. Make sure that the sixth, third and first strings have octaves that are actual octaves in the five fret range you are playing in; this is the most important tuning. Since different fret boards nay be different, intonation tuning can only be done using high quality programmable stroboscope tuners and tuning with playing (experience). Better yet: use your own voice and part of a song as a chromatic pitch pipe for fine tuning. Use the lowest note fret for key note. Repeat song with voice and string, and listen carefully for small differences. If the highest note of this song part is a little sharp; the string length or compensation has to be increased by about 0.5 millimetre at bridge for this string. Tune the open string and check the fifth fret note with a mechanical pitch pipe; the fifth fret note may be a little sharp at this point compared to pitch pipe. Play a few songs on these two strings; the intonation tuning should be a sharp between the second and seventh fret at this point. Next play a few songs on one string from nut to twelfth fret; need to move the bridge per string back about -2 (for nylon first string) to about 6 millimetres=d (for steel sixth string and scale length s=0.65 metre) to lengthen string. Check intonation of string with voice and song as pitch pipe, if the faster pitches on a string are a little sharp, lengthen the string slightly at the bridge. This is all that may be needed for notes from nut to eighth fret. Do not use an electronic tuner for open string tuning at this stage. If this does not work, the nut may be damaged, crushed, worn, or dislocated.

Things You'll Need

A four to six songs and their corresponding accompaniment notes for voice as pitch pipe for main source of reference pitches and lead. Use tunes that have a wide note range; preferably five or more notes.

A high quality mechanical chromatic pitch pipe set for guitar with A440 standard for comparison of fret pitches. W. Kratt "The Master Key" C to C chromatic pitch pipe set has purer pitch tones in 2010.

Programmable tuner with a mechanical stroboscope display and electronic pitch pipe with 0.01 cent accuracy with purer reference pitch tones (a must if you can afford it) for tuning experimentation and study. Its mechanical stroboscope may be purer than electronically generated reference pitches.

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